How Masterpiece Stays Timeless

A new memoir by Rebecca Eaton, the executive producer of Downton Abbey and other Masterpiece classics, offers some insight into the series' enduring excellence.
Rebecca Eaton, executive producer of Masterpiece. (Viking)

This weekend, as snow came down in Connecticut and I anticipated the start of Season Four of Downton Abbey, seemed the right time to read Rebecca Eaton’s Making Masterpiece (Viking), her entertaining saga of guiding Masterpiece—which, with a nod to its British inflection and contributors, was long known as Masterpiece Theatre, and continues to be television’s classiest and longest-running drama programming. After 28 years as the executive producer of the series, Eaton has delivered a memoir that is as full of twists of plot and characters as its scores of memorable adaptions from novels, biographies, and original narratives.

After a fellowship at the BBC in 1969, which was instrumental in shaping her deep appreciation of Britain’s dramatic artistry, Eaton landed at Boston’s public-broadcasting channel WGBH and was eventually recruited to Masterpiece, which was then funded by Mobil Oil. An early patron of the enterprise was Mobil’s colorful public-relations chief, Herb Schmertz, whose goal was to associate the oil company with this special series, which he astutely understood would give “big petroleum” an aura of sophisticated benevolence.

From its opening program in 1971, The First Churchills, Masterpiece affirmed the lasting power of great storytelling that somehow fit the small screen. At the core of Making Masterpiece (and without an excess of self-regard) is Eaton and her colleagues’ distinctive talent in selecting those stories and seeing that the ensembles of actors, writers, and directors maintain the standards that have made Masterpiece’s programs a pillar of public broadcasting’s place in American culture.

What makes Downton Abbey’s popular appeal especially notable now, as Eaton’s tale unfolds, is that over the decades, top-tier American television drama has evolved from an essentially unique Sunday evening of mainly British historical epics to a selection of dramatic series—consider The Sopranos, Breaking Bad, Homeland, Mad Men, and many others—without Masterpiece being downgraded into stately costume relics and miniscule followings. From its earliest days in the 1970s, Masterpiece (joined later by Masterpiece Mystery) benefited from a mixture of superb multi-part period pieces such as Upstairs, Downstairs, I Claudius, and The Jewel in the Crown to more contemporary series such as the gripping and cynical political drama House of Cards (adapted with considerable success to an ongoing Netflix version set in Washington and starring Kevin Spacey).

One of the most unusual Masterpiece triumphs beginning in the early 1990s were the seven installments of Prime Suspect, starring Helen Mirren as the rivetingly complex police detective Jane Tennison—Eaton describes her as “tough but tenderhearted.” Eaton acknowledges that she almost turned down the program for being “too much like an American cop show to be of interest to our audience.” But Henry Becton, Eaton’s mentor and later a president of WGBH, “happened to read the script,” she writes, “and saved me from myself: ‘Rebecca are you sure you want to turn this down?’ … Even Mobil liked Prime Suspect. What could I have been thinking?”

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Peter Osnos is a contributing writer for The Atlantic. He is the founder and editor at large of PublicAffairs books and a media fellow at the Century Foundation.

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